Example 9 Modes Harmonised in Chords (exercise)
Khan is equally methodical with chord voicings. Here’s an exercise that advocates based around taking a scale or mode and choosing an appropriate chord voicing with each note in turn as the highest voice. Here’s a descending (r-b7-6-5-4-3-2-r) pattern for C lydian (r-7-6-5-#4-3-2-r), C Mixolydian and C dorian (r- 71-46-5 3-2-r). The specific shapes are optional assuming, of course, that the component notes belong in the host scale, but the voicings presented are a good place to begin, as they are both sonically cohesive and technical not so tricky as to present an obstacle when connecting at speed.